Course detail
Studio Practice 3
FaVU-4SP-3Acad. year: 2024/2025
In the course, students pursue their creative practice in a specialized studio of their choice. In the studio, students are provided with material conditions and a welcoming and engaging working environment for their practice. They acquire theoretical knowledge and practical skills concerning material processes and technological procedures in the field designated by the specialization of their studio, address creative and critical concerns of contemporary art/design, and gain confidence to negotiate their positions as artists/designers. Students develop and demonstrate complex understanding of what constitutes excellence in contemporary art/design through working on projects that they present and defend at the end of the semester. Working on projects, participation in studio activities, and the schedule of one-to-one tutorials follow the individual studio study plan that is set up by the student and their supervising tutor at the beginning of the semester.
Language of instruction
English
Number of ECTS credits
10
Mode of study
Not applicable.
Guarantor
Department
Entry knowledge
Completion of Studio Practice 1 a Studio Practice 2.
Rules for evaluation and completion of the course
Credits are awarded on the basis of a successful implementation of an individual study plan. The grade is based on the assessment of the end of semester final project carried out by a panel of internal and external experts.
Work is done by appointment/need either directly in the chosen studio or in a shared studio of the Fine Art and Design program. Classes include individual project work, studio activities and individual consultations as defined by the studio curriculum.
Work is done by appointment/need either directly in the chosen studio or in a shared studio of the Fine Art and Design program. Classes include individual project work, studio activities and individual consultations as defined by the studio curriculum.
Aims
The objective is to provide students with material conditions and a welcoming and engaging working environment so that they can develop into independent individuals with the ability and confidence to articulate their imaginative and critical positions.
Upon completion of the course, students have theoretical knowledge and practical skills concerning material processes and technological procedures in the field designated by their studio and an understanding of creative and critical concerns of contemporary art/design at the level appropriate for the stage of the study. Students are able to carry out and defend an original and innovative art/design project.
Upon completion of the course, students have theoretical knowledge and practical skills concerning material processes and technological procedures in the field designated by their studio and an understanding of creative and critical concerns of contemporary art/design at the level appropriate for the stage of the study. Students are able to carry out and defend an original and innovative art/design project.
Study aids
Not applicable.
Prerequisites and corequisites
- compulsory prerequisite
Studio Practice 1 - compulsory prerequisite
Studio Practice 2
Basic literature
Not applicable.
Recommended reading
Baladrán, Zbyněk, Vít Havránek, and Věra Krejčová, eds. 2009. Atlas of Transformation. Praha: Tranzit. http://monumenttotransformation.org/atlas-of-transformation/ (EN)
Bauer, Erwin K., and Dieter Mayer. 2009. Orientation & Identity: Portraits of International Way Finding Systems. Wien: Springer. (EN)
Benjamin, Walter. 2019. Illuminations: Essays and Reflections. Boston and New York: Mariner Books and Houghton Mifflin Harcourt. (EN)
Bey, Hakim. 2003. T.A.Z. The Temporary Autonomous Zone: Ontological Anarchy, Poetic Terrorism. Brooklyn: Autonomedia. (EN)
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso Books. (EN)
Bourdieu, Pierre. 2002. Masculine Domination. Stanford: Stanford University Press. (EN)
Bourriaud, Nicolas, Jeanine Herman, and Caroline Schneider. 2005. Postproduction. Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg. (EN)
Bradley, Will, and Charles Esche. 2007. Art and Social Change: A Critical Reader. London: Tate Publishing. (EN)
Copeland, Mathieu, Clive Phillpot, Jihn Armleder, and Mai-Thu Perret, eds. 2009. Voids: A Retrospective. Zurich: JRP/Ringier. (EN)
De Landa, Manuel. 1997. A Thousand Years of Nonlinear History. New York: Zone Books. (EN)
Debord, Guy. 2018. Society of the Spectacle. Detroit: Black & Red. (EN)
Dempsey, Amy. 2010. Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames & Hudson. (EN)
Didi-Huberman, Georges, and Harvey Mendelsohn. 2017. The Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg's History of Art. University Park, Pennsylvania: The Pennsylvania State University Press. (EN)
Duchamp, Marcel, and Michel Sanouillet. 1989. The Writings of Marcel Duchamp. New York: Da Capo Press. (EN)
Franchi, Francesco. 2013. Designing News: Changing the World of Editorial and Information Graphics. Berlin: Gestalten. (EN)
Fried, Michael. 2008. Why Photography Matters as Art as Never Before. New Haven and London: Yale University Press. (EN)
Ghent Urban Studies Team. 1999. The Urban Condition: Space, Community, and Self in the Contemporary Metropolis. Rotterdam: 010 Publishers. (EN)
Graham, Gordon. 2005. Philosophy of the Arts. London: Routledge. (EN)
Groys, Boris. 2014. On the New. London and New York: Verso. (EN)
Harari, Yuval Noah. 2018. Sapiens: A Brief History of Humankind. New York: Harper Collins. (EN)
Havránek, Vít, Sabine Schaschl-Cooper, and Bettina Steinbrügge, eds. 2005. The Need to Document. Lüneburg: JRP Ringier. (EN)
Higgins, Hannah. 2003. Fluxus Experience. Berkeley: University of California Press. (EN)
Howell, Anthony. 1999. The Analysis of Performance Art: A Guide to Its Theory and Practice. Rotledge: London. (EN)
Jenkins, Henry, Sam Ford, and Joshua Green. 2018. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press. (EN)
Juul, Jesper. 2019. Handmade Pixels: Independent Video Games and the Quest for Authenticity. Cambridge, Massachusetts: The MIT Press. (EN)
Klanten, and Sinofzik. 2013. Introducing Culture Identities: Design for Museums, Theaters, and Cultural Institutions. Berlin: Gestalten. (EN)
Klanten, Robert, Adeline Mollard, and Matthias Hübner. 2011. Behind the Zines: Self-Publishing Culture. Berlin: Gestalten. (EN)
Krauss, Rosalind E. 2010. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Massachusetts: The MIT Press. (EN)
Krauss, Rosalind. 1979. “Sculpture in the Expanded Field.” October 8: 31–44. https://doi.org/10.2307/778224 (EN)
Macevilley, Thomas. 1995. The Exile's Return: Toward a Redefinition of Painting for the Post-Modern Era. Cambridge: Cambridge University Press. (EN)
Macfarlane, Kate, and Edwin Carels. 2012. Graphology: Drawing from Automatism and Automation. Gent: MER Paperkunsthalle. (EN)
MacLennan, Alastair, Gray Watson, Roddy Hunter. 2003. Knot Naught. Belfast: Ormeau Baths Gallery. (EN)
Martens, Karel, Robin Kinross, Koosje Sierman, Françoise Berserik, Harry Lake, et al. 2010. Karel Martens Printed Matter = Drukwerk. London: Hyphen Press. (EN)
McLuhan, Marshall. 1964. Understanding Media: The Extensions of Man. New York: McGraw-Hill. (EN)
Mechner, Jordan. 2020. The Making of Prince of Persia: Journals 1985-1993. San Francisco: Stripe Press. (EN)
Mitchell, William J. 2005. Placing Words: Symbols, Space, and the City. Cambridge, Massachusetts: The MIT Press. (EN)
Müller-Brockmann, Josef. 2021. Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers, and Three Dimensional Designers. Salenstein: Niggli. (EN)
Pitts, Victoria. 2015. In the Flesh: The Cultural Politics of Body Modification. Palgrave Macmillan. (EN)
Rappo, François. 2009. Typeface as Program: Applied Research and Development in Typography. Lausanne: ECAL, University of Art and Design Lausanne. (EN)
Rendgen, Sandra, Julius Wiedemann, Paolo Ciuccarelli, Richard Saul Wurman, and Simon Rogers. 2020. Information Graphics. Köln: Taschen. (EN)
Sayre, Henry M. 2007. The Object of Performance: The American Avant-Garde Since 1970. Chicago: University of Chicago Press. (EN)
Tholenaar, Jan, Cees de Jong, and Alston W. Purvis. 2009. Type: A Visual History of Typefaces and Graphic Styles. Köln: Taschen. (EN)
Velden, Daniel van der, and Vinca Kruk, eds. 2009. Metahaven: Uncorporate Identity. Baden: Lars Müller. (EN)
Bauer, Erwin K., and Dieter Mayer. 2009. Orientation & Identity: Portraits of International Way Finding Systems. Wien: Springer. (EN)
Benjamin, Walter. 2019. Illuminations: Essays and Reflections. Boston and New York: Mariner Books and Houghton Mifflin Harcourt. (EN)
Bey, Hakim. 2003. T.A.Z. The Temporary Autonomous Zone: Ontological Anarchy, Poetic Terrorism. Brooklyn: Autonomedia. (EN)
Bishop, Claire. 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London and New York: Verso Books. (EN)
Bourdieu, Pierre. 2002. Masculine Domination. Stanford: Stanford University Press. (EN)
Bourriaud, Nicolas, Jeanine Herman, and Caroline Schneider. 2005. Postproduction. Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg. (EN)
Bradley, Will, and Charles Esche. 2007. Art and Social Change: A Critical Reader. London: Tate Publishing. (EN)
Copeland, Mathieu, Clive Phillpot, Jihn Armleder, and Mai-Thu Perret, eds. 2009. Voids: A Retrospective. Zurich: JRP/Ringier. (EN)
De Landa, Manuel. 1997. A Thousand Years of Nonlinear History. New York: Zone Books. (EN)
Debord, Guy. 2018. Society of the Spectacle. Detroit: Black & Red. (EN)
Dempsey, Amy. 2010. Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames & Hudson. (EN)
Didi-Huberman, Georges, and Harvey Mendelsohn. 2017. The Surviving Image: Phantoms of Time and Time of Phantoms: Aby Warburg's History of Art. University Park, Pennsylvania: The Pennsylvania State University Press. (EN)
Duchamp, Marcel, and Michel Sanouillet. 1989. The Writings of Marcel Duchamp. New York: Da Capo Press. (EN)
Franchi, Francesco. 2013. Designing News: Changing the World of Editorial and Information Graphics. Berlin: Gestalten. (EN)
Fried, Michael. 2008. Why Photography Matters as Art as Never Before. New Haven and London: Yale University Press. (EN)
Ghent Urban Studies Team. 1999. The Urban Condition: Space, Community, and Self in the Contemporary Metropolis. Rotterdam: 010 Publishers. (EN)
Graham, Gordon. 2005. Philosophy of the Arts. London: Routledge. (EN)
Groys, Boris. 2014. On the New. London and New York: Verso. (EN)
Harari, Yuval Noah. 2018. Sapiens: A Brief History of Humankind. New York: Harper Collins. (EN)
Havránek, Vít, Sabine Schaschl-Cooper, and Bettina Steinbrügge, eds. 2005. The Need to Document. Lüneburg: JRP Ringier. (EN)
Higgins, Hannah. 2003. Fluxus Experience. Berkeley: University of California Press. (EN)
Howell, Anthony. 1999. The Analysis of Performance Art: A Guide to Its Theory and Practice. Rotledge: London. (EN)
Jenkins, Henry, Sam Ford, and Joshua Green. 2018. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: New York University Press. (EN)
Juul, Jesper. 2019. Handmade Pixels: Independent Video Games and the Quest for Authenticity. Cambridge, Massachusetts: The MIT Press. (EN)
Klanten, and Sinofzik. 2013. Introducing Culture Identities: Design for Museums, Theaters, and Cultural Institutions. Berlin: Gestalten. (EN)
Klanten, Robert, Adeline Mollard, and Matthias Hübner. 2011. Behind the Zines: Self-Publishing Culture. Berlin: Gestalten. (EN)
Krauss, Rosalind E. 2010. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Massachusetts: The MIT Press. (EN)
Krauss, Rosalind. 1979. “Sculpture in the Expanded Field.” October 8: 31–44. https://doi.org/10.2307/778224 (EN)
Macevilley, Thomas. 1995. The Exile's Return: Toward a Redefinition of Painting for the Post-Modern Era. Cambridge: Cambridge University Press. (EN)
Macfarlane, Kate, and Edwin Carels. 2012. Graphology: Drawing from Automatism and Automation. Gent: MER Paperkunsthalle. (EN)
MacLennan, Alastair, Gray Watson, Roddy Hunter. 2003. Knot Naught. Belfast: Ormeau Baths Gallery. (EN)
Martens, Karel, Robin Kinross, Koosje Sierman, Françoise Berserik, Harry Lake, et al. 2010. Karel Martens Printed Matter = Drukwerk. London: Hyphen Press. (EN)
McLuhan, Marshall. 1964. Understanding Media: The Extensions of Man. New York: McGraw-Hill. (EN)
Mechner, Jordan. 2020. The Making of Prince of Persia: Journals 1985-1993. San Francisco: Stripe Press. (EN)
Mitchell, William J. 2005. Placing Words: Symbols, Space, and the City. Cambridge, Massachusetts: The MIT Press. (EN)
Müller-Brockmann, Josef. 2021. Grid Systems in Graphic Design: A Visual Communication Manual for Graphic Designers, Typographers, and Three Dimensional Designers. Salenstein: Niggli. (EN)
Pitts, Victoria. 2015. In the Flesh: The Cultural Politics of Body Modification. Palgrave Macmillan. (EN)
Rappo, François. 2009. Typeface as Program: Applied Research and Development in Typography. Lausanne: ECAL, University of Art and Design Lausanne. (EN)
Rendgen, Sandra, Julius Wiedemann, Paolo Ciuccarelli, Richard Saul Wurman, and Simon Rogers. 2020. Information Graphics. Köln: Taschen. (EN)
Sayre, Henry M. 2007. The Object of Performance: The American Avant-Garde Since 1970. Chicago: University of Chicago Press. (EN)
Tholenaar, Jan, Cees de Jong, and Alston W. Purvis. 2009. Type: A Visual History of Typefaces and Graphic Styles. Köln: Taschen. (EN)
Velden, Daniel van der, and Vinca Kruk, eds. 2009. Metahaven: Uncorporate Identity. Baden: Lars Müller. (EN)
Classification of course in study plans
- Programme FAAD Master's 2 year of study, winter semester, compulsory
Type of course unit
Guided consultation
13 hod., compulsory
Teacher / Lecturer
Syllabus
The course curriculum is based on the specialization of the studio and student`s individual needs. The study plan is established by the student and their supervising tutor at the beginning of the semester.